• A bit of a change of pace from Kaurismäki—unlike his Proletariat Trilogy (color films, very short, set in Finland, single protagonist) this is a black and white film about three characters (further cementing Kaurismaki with Jarmusch) who are artists, living and struggling in Paris. It still has his dry deadpan, black sense of humor—Wes Anderson is in this family, Roy Andersson
  • About a writer, painter, and musician—but bohemians— bounders and ramblers, romantic, broke, drinking
About a writer, painter, and musician—but bohemians— bounders and ramblers, romantic, broke, drinking
  • No score
  • Garbage, clutter, rusticated art kitsch—Wenders or Gilliam meets Jarmusch—black and white nice 35mm
it’s not exactly Andersson or Greenaway but strong blocking in the frames
  • Drinking
  • Comically small three wheel car
a great gag here- the Kaurismäki complaining about the portion size- always the drinking in his films
  • thoroughly enjoying the Kaurismäki study- but it is frustrating that each film includes one or two (at most) stunner compositions like the final frame here or the kiss in the doorway of Shadows in Paradise– if he ever put a bunch together he’d have a Must-See or MP film
  • Jean-Pierre Léaud!! Haha he’s hilarious in a small role as an art collector
  • Back loaded in its brilliance- a great Renoir A Day in the Country-like Eden sequence with a stunner of a shot of a hand with a wilted flower hitting the ground at 70 minutes
beauty among the squalor of life– the thesis pervading throughout Kaurismäki’s oeuvre
  • A nice frame at 77 minutes of a man in silhouette off the garage at the train station
  • The final frame— the film’s strongest composition
The final frame— the film’s strongest composition
  • Recommend / Highly Recommend border for now- tough not to move it higher with that final shot.